Intro:
Edifier is known for producing affordable, high-quality items, ranging from Bluetooth speakers to wireless headphones and TWS earbuds, including the powered speakers reviewed here. Some of their products are among my favorites across all price categories, such as the outstanding Stax Spirit S5 (and S10, & NeoBuds Planar TWS), which can compete favorably overall.
Having recently owned the excellent R1280DBs, the comparison was natural, along with a couple of powered speakers reviewed for Headfonics.
I gladly accepted the MR5 for review following my reviews of the NeoBuds Planar and LolliClip, and I thank Edifier for their continued support. The unit is mine to keep, but may be asked back for at any time. And as per all of my reviews, regardless of category, the unit(s) were burned in for 50 hours, minimum. It is a long-standing tradition I have that people are also interested in how the unit sounds down the road (if there are changes), as well as brand new out of the packaging.
Specs:
Total Output Power (RMS): 10W + 10W (Treble), 15W + 15W (Mid), 30W + 30W (Bass)
Driver: 5″ woofers, 3.75″ mid drivers, 1″ silk dome tweeters
Frequency Response: 46Hz – 40kHz
Signal-to-Noise Ratio: ≥ 85dB (A)
Audio Inputs: Balanced XLR, Balanced ¼-inch TRS, Unbalanced RCA, ⅛-inch stereo (3.5mm AUX),
Bluetooth
lnput Sensitivity: XLR: 1228 ± 50mV, TRS: 1228 ± 50mV, RCA: 700 ± 50mV, AUX: 600 ± 50mV, Bluetooth: 600 ± 50mFFS
Bluetooth Version: V6.0
Codecs: LDAC, SBC
Dimensions (W x H x D): 159mm × 264mm × 280mm (Active speaker),
159mm × 264mm × 257mm (Passive speaker)
Net Weight: 10.38kg
Crossover: Bass/Mid 155 Hz, Mid/Treble 2600 Hz
Sound Pressure Level (Max.): 101dB (@1 meter)
Headphone Output: ⅛-inch stereo
In The Box:
MR5
Power cable
Mini-XLR connection cable
Dual RCA to 3.5mm SE cable
3.5mm se AUX cable
Owner’s manual
Starter guide
Gear Compared/Used:
FiiO SA1 ($199)
FiiO SP5 ($749)
Klipsch The Sixes ($599)
iPhone 16 Pro Max
HiBy R4
FiiO TT13 (BT Turntable)
Aiwa portable CD player
Tidal/Qobuz
Vinyl
CDs
Unboxing:
The MR5 comes in a double box, with the outer one for shipping only. The inner box shows off the merits and pictures of the speakers. Pictures of both colors grace the longer sides of the inner package box, while the end has the specifications in many languages on one end and a detailed look at the back of the business speaker (the one with all the controls.
Included on the last-mentioned side are connection options as well as brief explanations of what each fine-tuning knob does.
Opening the box, you are greeted with stiff cardboard inserts that could seriously substitute for acoustic baffling. Modular in shape, with the four raised sides attached to the main part, the baffling can be opened up to make for easier recycling, or an acoustic tile. Or to keep as most of us do.
Each speaker comes wrapped in a soft synthetic “fabric” besides is sealed in a plastic bag. The bottom baffling mimics the top, with the included cables placed inside the inserts of the top baffling, which you see upon opening the box.
Included accessories are a 3-prong power cord, a mini-XLR speaker cable, a 3.5mm to 3.5mm AUX cable, a dual RCA to 3.5mm cable, and the instruction manual (which can also be downloaded from the website.
No remote is included, but you can control the MR5s from your computer or smart device, or the ConneX app.
Build/Design:
The MR5 is on the smaller side of the latest range of nearfield/bookshelf powered speakers, at 159mm × 264mm × 280mm (Active speaker) and 159mm × 264mm × 257mm (Passive speaker), weighing a little over 10.3kg, each. The right speaker is a little lighter since it does not have the connections or power knob. That is a good height for each speaker, instead of the super-light (we used to call it stupid light in bike racing for inordinately light parts…) you often see in less expensive models.
The speakers (in black or white) are made to very high standards using mdf pressboard, but with a texture to them that allows for ease of careful handling. The front is formed of plastic with excellent tactility, and a recessed space for both the woofer and tweeter. The mdf and plastic work well together, giving off an understated, upscale look in black. The bronze accents around the tweeter, volume knob, and midrange driver cone add to the effect.
The recessed drivers not only look good, but also protect the drivers, besides being an integral part of sound dispersion. Combined, this purportedly gives the MR5 better sound dispersion and a wider soundstage. We will see below.
The lower sides of each speaker (both sides) are vented (plastic inserts) for the downward facing powered 5” woofer (30W each). A vent on the backside of each speaker up top acts as a vent for the 3.75” midrange driver (15W each), and 1” silk dome tweeters (10W each). A total of 55W per side yields 110W in total power, and I was never left wanting more, even in my “almost finished” larger listening room.
Four larger foam feet protect the surface and the bottom of the speaker for good measure. The back side of the “business” speaker has all of the connection options.
Controls/App:
The back of the left speaker has all of the purpose-driven items. An RCA input allows for items such as a CD player, tape-in, or a DAP using the RCA to 3.5mm cable. To the right of that are balanced 6.35mm TRS connections for use in a studio monitor situation. I did not test this feature.
To the right of that is the balanced XLR connection for studio use or using a DAC that has an XLR-out. I did use this option. On the next “row,” the 6.0BT pairing button resides, and below that are the sound tailoring “knobs” for bass and treble adjustments.
The treble may be altered +/-6dB above 10kHz, and the bass adjust is also +/-6dB at 125Hz. The ConneX app also allows for room adjustments using the “low cutoff” (20-100Hz), and an “Acoustic Space” adjustment for placing the speakers near walls (0dB, -2dB, and -4dB). There is also a “Desktop Control,” which drops by 4dB at 200Hz for better bass control. All options were tested to the best of my abilities.
The Edifier ConneX app is more advanced than the company’s TWS unit; just look at the previous paragraph. You can also access the manual on the company website.
The volume knob even toggles through three sound options (red is for use as a monitor, green for music sound effect, and white is a custom option set up in the app) besides volume use.
Tech details:
The MR5 (every time I say that, I think of the Toyota MR2, known as the “Mr. 2”) has three drivers, a 5″ woofer, 3.75″ mid driver, and 1″ silk dome tweeter per speaker. Putting out 10W + 10W (Treble), 15W + 15W (Mid), and 30W + 30W (Bass), the MR5 should be able to handle most listeners’ options.
The MR5 also has a 3-way active crossover (Bass/Mid 155 Hz, Mid/Treble 2600 Hz), and DRC (Dynamic Room Control via app), for fine-tuning for pretty much any placement. The DRC uses the “High Knob” (+/-6dB above 10kHz) handles the upper end, while the “Low Knob” (+/-6dB at 125Hz), along with the acoustic tuning section of the app (low cut off, acoustic space, and desktop control), compensates for various “discrepancies” in the room of choice.
The dimpled tweeter waveguide helps enhance high-frequency extension and clarity, purportedly providing a more even listening area.
The downward-facing woofer uses the side vents to dispel differential pressures, evening out the sound, and reducing potential reverberation that might hinder (displace?) the sonic qualities. Sitting close to the surface also helps keep the bass under control by using the space where the speaker sits.
The High Res chip is capable of 24-bit/96kHz resolution, and has been certified as such, with Codecs up to 990kbps using LDAC. With a smooth signature ranging from 40Hz to 40kHz, the MR5 presents an evenly flat sound that can then be tailored by the listener using the ConneX app.
Connectivity:
The BT 6.0 connected easily, with a satisfying two-note sound coming through when the item in question connected. Switching between sources via BT was easy as well.
Having RCA inputs is a given with pretty much all wireless powered speakers. The TRS (6.35mm balanced input) affords use as a dedicated studio monitor.
But what thrilled me the most was the 4-pin balanced XLR input. Having many serious DACs on hand, this alone allowed me to try out many DACs that had XLR outputs. This afforded me more listening source options through the DAC inputs. The FiiO SP5 I recently reviewed for Headfonics had XLR inputs, and I used (and use) that option most of the time.
Yes, you can most certainly use the RCA inputs for many of the same options, but balanced XLR inputs “raise the game” for connectivity. I was able to hook up a CD player via the Coax input on the DACs I used, as well as input a higher-level turntable via a Cambridge Audio phono-stage input.
An excellent choice by Edifier to include this option, and one alone that makes the MR5 worthy of praise.
Sound Impressions:
Listening impressions were made after an obligatory 75 hours of burn-in. I do this so the user may know what the unit sounds like a few months down the road, as well as OOTB. Paired with the FiiO TT13 and iPhone 16 Pro Max, BT was tested. RCA inputs were used for an Aiwa portable CD player, while the XLR input was used with the excellent SMSL RAWPro-DAC1 tethered, giving access to Coax inputs for a dedicated CD player and USB-C for a dedicated DAP. I could have also connected a TV through the I2S connection, but I did not make this available.
Summary:
There is no denying the quantity of bass coming forth from the MR5s. At times, and with some placement, that bass can dominate the sound, to the detriment of the overall tonality. But, proper placement of the speakers, along with using the included adjustments, positively countered this.
Treble extension is quite good and allows for very good off-axis sound to permeate the air. There is a good connection between both ends, and the midrange ties both together with a certain amount of vibrancy. On some genres, I did wish for more punch from the midrange, feeling it was slightly withdrawn, to the detriment of the overall signature. This, too, can be countered by using the included options on the app for the most part.
Bass:
The low-end steals the show for me, with copious amounts thundering along when a song presents a goodly amount of lower grunt. But this comes with tighter-than-expected control, and the lows never felt flabby or sluggish, unless the proper protocol for placement was not followed.
That proper placement is one of the most important aspects (across the board), especially for the lower regions, and without the ability to tailor those “discrepancies,” might yield less than stellar results. But the MR5 provides a solid sound to the lower frequencies that can be either bold and deep or tight and controlled. Either way (source dependent), the MR5s provide very good control.
I found no need to tailor the EQ settings for almost anything across the board, most of all the bass regions. If I do, it is usually to bump the bass region up 1-2 notches. As a result, I am a big fan of not using EQ unless I really have to, and in this case, I did not need to.
Midrange:
The vocal region comes across with good accuracy, and a veracity that is speedy without becoming thin, shrill, or inaccurate. Male vocals carry good weight to the notes, while female voices sing with an authority appropriate for the source and consequent playback on the MR5s.
I found the mids to be neither lifted too much nor too far forward. Instead, I found the music to be almost neutral in presentation across the spectrum. Guitar work can move a bit forward, but that was usually associated with solo work or emphasized for a purpose.
Quick guitar work, such as one might find with Latin or Spanish influences, sounded sumptuous and meaty. But with an accuracy of detail that belied what one was hearing. Accuracy, depth, and note weight all together? You bet. This will not win awards for its overall clarity of sound, but here yet again Edifier shows what magic has been concocted by their engineers, producing detail, clarity, and very good note weight for our enjoyment.
Treble:
Of the three frequency ranges, the treble comes across as the most polite (without EQ). Dispersion from the dimpled tweeter dome helps disseminate the sound well, but I do wish for a few more watts to send the sound forth.
What seems to happen is that the much larger mid and low drivers take precedence over the signature, where the treble is noted for a polite accompaniment. Not that the treble is completely forgotten, but instead rounds out and rounds off the top, so the signature does not become screechy or grating in sparkles.
In keeping with its monitor status, this could be by design for use in such a manner. Mind you, there is plenty of energy and decent extension. Just do not expect a stretching that allows for an airiness to the high notes. I do rather like the way this is presented.
This naturalness combines with the midrange to make for excellent vocals.
Staging & Dynamics:
Soundstage largely depends upon placement. In a more open setting, the 3D experience is expanded, naturally, to purvey the limitations of the room (or a larger space when in a very large room such as my basement). I found width and height to be excellent, and when in the right listening plane, depth took on similar characteristics.
A central focus point could be easily identified, using that foci as the pivot point across the three dimensions for proper placing of instruments in layers, and side-to-side. As a near field, this allowed for better depth than in a room situation, but that is not to say a room setting was detrimental to the performance. No, you simply had a better feel for depth in that close-quarter listening situation.
The dynamic tendencies of the midrange were especially good in both near-field and room situations, affording me very good textural contextual awareness. It was easy to decipher the layers with such dynamism from the music due to proper placement and the expansion across all three dimensions.
While not quite as large or holographic as the FiiO SP5 (over twice the price), the MR5 presented itself well.
Pairings:
Using BT 6.0 most of the time through either my iPhone 16 Pro Max or the TT13, presented a very competent measure of what a user may experience daily. On the smartphone, you may want to bring along your custom EQ settings to provide the most benefit to your listening experience, but many companies’ offerings now allow you to carry personal settings across many devices within their platforms.
I did prefer the BT pairing with the TT13, as the melding of vinyl and powered speakers simply outshone the smartphone combination. Deeper-reaching bass, with tightly controlled mids, allowed the treble to come forth with more authority and verve. That lack of distinct treble notes, which I mentioned above, seems to have disappeared in this pairing. Mark Lavengood’s No Part Of Nothin’ sounded superb with this combination. Something the iPhone could not match.
When I added the SMSL RAWPro-DAC1 to the mix, the MR5 truly shone, especially from the XLR inputs. Mimicking what I could only imagine was a studio mix, the HiBy R4 playing Ben Webster meets Oscar Peterson, the jazz legends came out in full force. Excellent midrange allowed the percussion to hold the line from both ends, while cymbal hits extended the top end. Webster’s sublime saxophone solos rang out with excellent depth and the raspy melodic sound for which he is known. The positive effect it had on the soundstage was almost staggering.
As far as pairings go, I highly recommend an external DAC, and one with XLR outputs to fully experience the MR5.
Select Comparisons:
FiiO SA1 ($199)
I reviewed the SA1 for Headfonics, and that review in its entirety can be found here.
Features:
The desktop FiiO SA1 features a 3.5” wood fiber woofer (using the same material as the FiiO FT1 headphone), which allows for a rigid structure capable of rapid acoustic response. The MR5 comes with a 5” woofer and 3.75” midrange driver.
An aluminum-magnesium alloy tweeter using monitor-grade material measuring 0.75” allows for quick, crisp sound response, complementing the woofer. The MR5, on the other hand, has a dimpled 1” silk dome tweeter.
The Texas Instruments TPA3118 Class-D amplifiers can provide up to 20W x 2 for the woofers and 5W x 2 for the tweeters. Not earth-shattering, but sufficient for desktop needs and potentially bookshelf usage in smaller spaces. This compares favorably to the 30W + 15W + 10W for the MR5.
An electronic two-way crossover, at 3.5 kHz, helps maintain a balance across the sound spectrum, while the FiiO app can provide a 31-band lossless PEQ when using a Smart device as a source, which is quite flexible. The app can be used in conjunction with the PEQ to tailor the sound, fitting your space. The MR5 has a three-way crossover set at 155Hz (bass/mid and 2600Hz mid/treble).
With a multitude of inputs, including BT 5.4, the SA1 supports LDAC when applicable, as well as AAC & SBC. The BT 6.0 of the MR5 tops that, as does the XLR input.
A built-in phono pre-amplifier stage can be used to connect your turntable directly, or you can connect to a BT-capable turntable that has a built-in phono stage. There is also a subwoofer output included for times when a little more low-end is desired, as in a 2.1 system. The MR5 does not have either, and an external phono stage must be used, or a BT turntable.
Design:
The SA1 uses high-density MDF material up to 12mm thick for the cabinet. The top and sides use 9mm solid wood veneer to reduce resonance, purportedly for a more natural sound.
Its diminutive size of just under 8” tall and 5” wide, the 5.5” fits easily upon my desk and other locations. The MR5 is larger (and heavier) in all dimensions.
A lower “slot” out the back, combined with two internal shelves of unequal length, acts as a bass port. This allows the SA1 to go as low as 65Hz. A bass knob allows for added bass, but I found there was not much change to the low-end. The side vents on the MR5 aid in reproducing bass, to a low of 46Hz.
The 3.5” wood fiber woofer uses unequal-length fibers bound together, making for a stronger, more responsive structure. The aluminum-magnesium tweeter provides for crisp, tight sound up top. The silk dome tweeter and carbon fiber surround of the bronze colored metal diaphragm separate the two somewhat in looks.
The cabinet is a good-looking unit with a dark gray faux-burnished aluminum look on the top, bottom, front, and back, which combines nicely with the walnut color of the veneer. The MR5 has a more modern look to it, especially with the bronzed chrome accents and mid-driver.
The dark metal smoked-chrome rings surrounding the woofer and tweeter look like a two-globe snowman, adding to the appeal. That is kind of cool, I will admit.
The business parts are on the side or back of the right speaker (left speaker for the MR5). The three knobs on the right side of the speaker control on/off, bass enhancement, and input, which glows in the color of operation. Due to my situational locale, the speakers were switched in my office setup.
The back of the left SA1 carries the typical input/output connections ranging from an RCA/Phono input (with ground wire connection), coax, optical in, USB-C in, subwoofer out, and a 3.5mm AUX in. A remote is included with the SA1, but not the MR5, which relies upon the smartphone app, or in my case, the DAC remote.
Add a switch for use as either an RCA-in connection or the phono stage, and the SA1 is complete. BT connectivity is internal, with no antenna on the back.
Performance:
Proper placement of these ‘Lilliputian’ speakers changes the sound drastically, more so than the MR5. This is known across two-channel systems. Suffice it to say that even when placed on a desktop, below ear level, the sound qualities were quite adequate.
I was impressed by the holographic nature of the soundstage, with more than the MR5, except when using the external DAC. Set initially as a nearfield speaker on my desktop, the SA1s promoted a spherical response to each source, with excellent depth to the sound.
As a result, imaging was excellent, and placement came across as expansive without becoming thin. In this respect, both are quite similar.
Bass is lacking, but when hooked to my older Paradigm PW-2200, a faithful 20-year companion, using the included RCA to 3.5mm AUX cable, the bass expanded greatly. Details come through with aplomb and a distinctiveness defying the small speaker’s diminutive size. The MR5 coped better with the low end, naturally due to the 5” downward-facing driver.
The top end does suffer a bit as well, falling into an almost polite manner, but with good articulation of notes, lending to a nice extension. Again, the two are similar, but I found a bit more extension with the FiiO.
The midrange comes across as defined and vibrant, but without punctuating any one set of instruments or vocals present here. A work of cohesion instead of showmanship, if you will. The midrange of the MR5 really sets itself apart here, especially with the external DAC (I know, I keep repeating that, but it does make the MR5 sing).
Placing the SA1s at ear level gives a bit more transparency along with a clearer midrange. Even when placed at the desktop level, the midrange performed quite nicely. The MR5 was more forgiving in this respect.
Treble extended a bit better, as one might expect with proper ear placement. The soundstage becomes a bit taller as well. The MR5 suffered less regarding placement than the SA1, even with the better holography of the SA1.
FiiO SP5 ($749)
I previously reviewed the SP5 for Headfonics. The review can be found in its entirety here.
Features:
The SP5 follows the same exterior design as the SP3 and features an aluminum die-cast cabinet from Genelec.
Equipped with an independent 4-channel amplifier delivering 60W to the 5.25-inch Rohacell-cone bass driver and 20W to the 1-inch composite silk dome tweeter, this represents an increase over the MR5 in both the bass and tweeter drivers.
The SP5 is suitable not only for near-field desktop music listening but also as bookshelf speakers for medium-sized rooms or dedicated listening rooms. The same holds for the MR5, with similar sizes and capabilities.
Users can control the speakers with the FiiO Control App, which is available for both iOS and Android devices. The app features 10-band PEQ tuning and complete speaker configuration, all from a phone, tablet, or laptop. It also has a remote, unlike the MR5.
The speakers have built-in trigger input support so they can be powered up in sync with other audio gear, making the SP5 suitable for integrating with home or studio setups. When turned on, it will automatically remember the previous source and volume. The MR5 is left at the previous volume when powered back on.
The SP5 speakers come with two Furukawa oxygen-free copper power cables for clean power delivery with maximum electrical conductivity, as well as robust connecting cables between each speaker and the connectivity options. They are heavy-duty. The MR5 takes the more cost-conscious path, providing an XLR speaker-to-speaker cable and two connectivity cables.
Design:
The FiiO SP5 comes in either black or white. I received the black version and immediately noted that it collects smudges and prints somewhat readily. They are slightly larger (and much heavier) than the MR5.
Once connected, though, you should have minimal contact with the speaker. I could see the white staying cleaner, plus to me it looks quite regal. Not that I mind the subdued black color, which allows the speaker to fade into the background. The MR5 is more interactive, since you do not have a remote (unless hooked to an external DAC, such as I did above).
Made of two-piece die-cast aluminum, the ridged texture has a rough feel for better grip when you need to move the speaker. Fit and finish are top-notch, though I did note a small mismatch with the melding of the two edges on both speakers.
At 11” high, 6.75” wide, and 7.25” deep (280x170x185mm), the SP5 will fit into most spaces with ease. The MR5 is 159mm × 264mm × 280mm and has a 10.38kg net weight of 10.38 kg, so very similar in size and weight.
The cables included, while wonderful in build, are quite stiff (but somewhat tactile) and will require some break-in to accommodate some spaces. The speakers are robust, coming in at roughly 3.85lbs each (About 1750g)
The rubber woofer surrounds have an articulated pattern to them, reminiscent of a mechanical blower fan, like you might find in a pellet stove. The SP5 is more subdued than the MR5 in design, but the tasteful bronze matching of the MR5 looks the part.
Both the woofer and tweeter are recessed a bit, with the tweeter mounted slightly behind the front face as a result. The woofer sits flush; once the curved area surrounding it moves back on the left and right sides. The MR5 tweeter sits out a bit, but I do not worry about that.
The carbon fiber of the woofer accents the ridge and furrow design quite nicely, lending a more modern look to the mid-century design of the cabinet.
The robust nature of the SP5 means it should be placed with care, and the owner’s manual provides good instructions for proper listening positions and placement. The same holds with the MR5, relying upon sturdy support for placement.
Performance:
Using the SP5s as a near-field speaker first, I was surprised that they did not overwhelm the space. The speakers are quite large for such a setting, but they functioned with excellent sonic characteristics. The same can be said for the MR5, large but worth consideration for a near-field placement.
Spacing the SP5 out when using the TA32 or BT TTs did not hinder the quality, and with the ability to fine-tune the spacing and vertical placement, I could zero in on an excellent setup. There was a bit more holography in the SP5s than the MR5s, which could be down to design.
The ability to tailor bass, treble, and low-bass reach helps with the setup for multiple situations. Suffice to say, that as a near-field +3dB for bass added just the right amount of low-end grunt. The MR5 affords +/-6dB for bass and treble, which can make a difference.
Using the desktop spacing, the sound focused around a holographic center, but with good 3D expansion. The same happened with the MR5, but with a less holographic response.
Raising the speakers a bit helps with treble extension, but even without this adjustment, the treble sounded vibrant and accurate. This was closer than the SA1 comparison, but the extra cost and remote capabilities of the FiiO make for a very hard decision. Think more complementary than adversarial.
Klipsch The Sixes ($599)
Features:
I have owned this pair for close to five years, and use them regularly, besides testing. With a 6.5” long-throw woofer, the Klipsch follows the historical pattern of big low ends, but with purpose. The woofer is larger than the MR5.
The bass port shoots out the back, so placing these much larger speakers can be a bit of a challenge. That port can be plugged with the included foam insert. Plugging has essentially the same aspect as placing The Sixes closer to the wall. You really are limited more, with The Sixes on placement.
The 1” titanium tweeter shoots into the Tractrix horns, expanding treble output across a more 3D range. A subwoofer can be added, but truthfully, one is not needed.
Putting out 100W (200W for short bursts, 60W & 20W for the SP5s woofer & tweeter), the Sixes are for larger spaces than the MR5 but can be successfully utilized in smaller office setups. A frequency response of 40-20,000 kHz goes slightly lower, too. They do prefer a larger setting to open up the sound.
Design:
The Sixes are much larger, coming in at 35 lbs. each, and with a size comparable to a larger bookshelf speaker. While they work on the floor, lifting them approximately 12” is ideal. This can be a limiting factor in comparison to the MR5.
The real walnut veneer has the vintage look, as do the gold knobs and switches. The front knob allows for switching between inputs, and there is an on/off toggle.
I worry about that toggle, as it could be easily broken off if the speaker is on the floor. The grill is magnetic, and keeping it off allows the vintage look to exude elegance.
Inputs range from USB digital audio input, optical digital audio input, to Bluetooth 5.0 audio, to RCA stereo line level analog input, an auxiliary line level input, and an RCA phono level analog input. Lacking is the XLR input of the SP5. The MR5s lack a dedicated phono stage, but can be used via BT or an external phono stage without issue.
A fully functional remote helps to control inputs and volume. Aimed at the same category, the Sixes are a good comparison to the MR5.
Performance:
This powered speaker forges a path into the mid to upper range of powered speakers at an excellent level. The bass and midrange come across as strong and authoritative. Vocals are precise and persistent.
The MR5 competes well but does not have as much sparkle up top. The Sixes can come across as bright in comparison, which may not be the flavor some would prefer. The MR5 promotes the midrange as the “star,” but does not neglect either end of the frequency spectrum.
The treble from the Klipsch, while excellent, hit a bit more frontally for me than the MR5. And this is where the MR5 does very well. Having different materials in the tweeters, the sound could not be more different in this range. Bright and overpowering sometimes, compared to the MR5s’ more rounded maturity.
Where the Klipsch hits frontal and is impactful, but spreads out nicely, the MR5s come across with a more toned-in sound that seems a bit tamed, but smooth. The smoothness of the MR5 does not discount its ability up top, though.
finale:
The Edifier MR5 came to me for review at a good time. I just finished the two FiiO powered speakers referenced above. The MR5 splits the difference between the two models, which should give a good idea of how it fares against both higher-priced and lower-priced models. It does.
This makes three or four Edifier speakers I have reviewed, and I have enjoyed the sound quality of all. Some I have purchased, while others I have reviewed or used for comparison purposes. The MR5 falls right in line with the other Edifier products, which means their bang for the buck is right up there with some of the best.
The sound coming out of the MR5 can be tailored using the ConneX app with only an email for access to the more in-depth room placement options. This will be worth it in my opinion, since many wireless headphones and portable, powered speakers now allow the user to carry personalized settings across different units. Having this fine-tuning ability allows the MR5 to be tailored to very specific listening situations, which is a definite positive.
And, the sound coming forth is worth it. Deep-reaching bass sets the tone for a very musical sound coming out, no matter the genre. The midrange simply sings, and while the treble can come across as full with good extension, I do wish for a bit more reach. This is where the +6dB can play a positive part.
Having the XLR inputs allows for the use of an external DAC, which makes the MR5s even better. Hooking the speakers in this route also allows the user more input source options, should you desire. Add in that a remote is usually included, and this makes for a win-win combination.
Plus, to me, when I inserted the SMSL DAC listed above, the MR5s really took on their own
I thank Edifier for the review unit and the continued support.
